In the opinion of Alfonso E. Pérez Sánchez, the work, which had been attributed to Juan Pantoja de la Cruz (1554-1608), is more akin to the craft of Juan Carreño de Miranda (1614-1685). He estimates that it was produced around 1680, in the context of the Seville school rather than the Madrid one.

The loose and open brushwork, characteristic of the Baroque in Seville, further narrows down the context to the circle of Juan Valdés Leal (1622-1690), by whom few portraits are known.

The child, of noble descent, is dressed according to the fashion of the court of Charles II (1661-1700). Wearing a French-style justacorps lined with fur, with short and wide sleeves that let the puffs and cuffs of the shirt show, and a semi-transparent collar tied with a silver string with tassels.

The left hand holds a feathered black slouch hat, while the right rests on the back of a friar chair placed at an angle not usually found in portraits. The small size of the chair, proportionate to its owner, and its rich upholstery, support the hypothesis that the child belonged to the nobility.